Beruflich Dokumente
Kultur Dokumente
PART I
BY
BAREND FADDEGON
TABLE OF CONTENTS
INTRODUCTION
page
Read
CHAPTERS I AND II
How to 8tudy the Smaveda-gnas
25
BIBLIOGRAPEUCAL TABLE
26
CHAPTER I
The Vedic and clas8ical Hindu music witk 8pecial retere,nce to the
tonal sy8tem . . . . . . . .
. . . . . . . . . .
27
PRELIMINARY NOTE
27
page
28
The Greek and Mediaeval European gamuts, 29; the discovery of physical
vibrational fra.ctions as the basis of psychical musical interva.ls, 30; the
expression of physical vibrational fra.ctions as intervals by logarithmical
calculation ; the notion of cents, 30; the flageolet-tones of the violin, 31;
the partial tones of the hom, 32; the Hindu sruti-system, 33; the sa.-gr,ma
in relation with the sruti-system, 34_
SECTION Il
HiBtorical evidence . . . .
35
35
36
SaIphitM, 36; the types, i.e. parvan-melodies mentioned by Simon, 36 br.hmaJ}.as, the terms upag.tar and sth,na, 38; - stras and commentaries,
39; passages in the Pu!Jpastra of special interest with reference to the fixation
of intervals, PS. 8,90; 9,30, p. 40; table on the treatment of the final syllable
in an ,rcika or staubhic nidhana in its spoken form, as yoni and as ha, 41;
PS. 8, 190, p. 44; the notion of type a.ccording to the Pu!Jpastra and Fox
Strangways, 45. - S~M, p. 47.
SECTION III
Modem tradition. . . . .
47
CHAPTER 11
Three analytical studies on the Siimaveda-Sarp,hitii
57
PRELIMINARY NOTE
Types- of melodization, 57; rules valid when the melody is ba.sed on the
a.ccentuation, 57; cases possible when the pooa is broken up into three- or
four-syllabic parvans, 58.
SECTION I
58
PRELIMINARYNOTES
58
Subsections I-IV
The tones 1-4 are final tones
Conclusion to Subsection I
5
page
58
60
Subsection V
Tone 5 is the final tone .
61
Subsection VI
Tone 6 is the final tone
67
67
SECTION 11
Subgroup I /123455656/ . .
Subgroup 11 /23455656/' . . . .
68
69
74
SECTION 111
77
-,
POSTSCRIPT
Date of manuscript being finished
83
INTRODUCTION
READ IN THE NETHERLANDISH ORIGINAL
AT THE MEETING OF THE KONINKLIJKE
NEDERLANDSE AKADEMIE VAN WETEN.
SCHAPPEN ON THE Ilth OF OCTOBER 194,8
Chant and recital in the Veda - a theme belonging both to the history
of language and the history of music! Of this Veda the J;tg-Veda-SaIphita.
will only in passing ask our attention, of much greater interest will be the
Sa.ma-Veda-SaIphita., which, consisting for the greater part of J;tg-Vedic
verses, yet as a collection of sacred chants is provided with musical
notations. Moreover a passage in Pa.IPni's Aftltdhyyi, this wonderfully
concise grammar of accurate secular Sanskrit with incidental notes on
sacerdotal Vedic will be of prime importance.
The rks of the J;tg-Veda were recited by hotrakas and the sa.mans of
the Sma-Veda sung by chandogas, but before these chanters gave their
performance they had the opportunity of calling to memory completely
and accurately words and meanings of their chants. And this was very
necessary the hymns being sung so as to render everything quite unrecognizable. In these prayers of memorization, japas, the chanters undoubtedly will have used the accentuation in which during their preparatory education they had learnt the texts. This Smavedic accentuation
differed much from the language of daily life, and the modern reader gets
the impression of having to do here not only with a sacral convention, but
in one interesting rule with a dialectical peculiarity not mentioned in the
grammatical manuals that have come down to us.
Besides hotrakas and chandogas I shall have to mention at the end
of this introduction the adhvaryu, who in the recital of his formulae and
verses was bound to the same regulations as the hot'rakas.
Of the ~g-veda-SaIphita. we possess Max Mller's famous edition ; the
Sma-Veda-SaI!1hita. has been published by Satyavrata Smasrami in the
Bibliotheca Indica; this at all events is the most accessible edition ; it is
a work of great value, but by its large number of inaccuracies a source of
continual complaint. Theoretical works on the Vedic chants were translated
by Richard Simon. J. M. van der Hoogt has in his academical thesis
(Amsterdam 1929) shown how much research is still to be done before
we can quite realize the importance of Simon's learned and valuable
work.
Only for some of the main points I shall invite your attention. The
edition of the Bibliotheca Indica rests on one tradition, that of the Kauthumas, a sacerdotal school spread in recent times over the Gujara.t. They
indicated the pitch of the syllables by means of numerals, written for the
main tone on the top of the syllable, for the following tones either after
the vowel or in the case of split diphthongs such as -i and -u after
the fust component. The numerals go from 1 to 6 as an indication of a
descending gamut. IJoreover we meet with 11 and 7; 11 only twice for a
tone higher than 1, and 7 over syllables that begin on 2 and soon rise to 1
10
diatonical order without accidentals. This then means that the numerals
1-6 are notations for two minor thirds divided from the top into a semitone and a whole tone and following each other at the distance of a fourth.
In the year 1877 the same author in his introduction to another Smavedic BrhmaI,la quoted four lines from a Hindu treatise on the theory
of music (Nrada-sikf:1, prap. 1 kh. 5, sI. 1 sqq.), which, as he believed,
confirm his experience with the Kauthama priests and the standard
pitch pipe.
The two passages in Burnell's introductions were not followed by aily
further information until the years 1901-1906, when the Descriptive
Catalogue of the Sanskrit Manuscripts in the Government OrientalLibrary
at Madras, a work of the librarian Prof. Sef:1agiri Sstri, was published
after the author's death by a colleague ofhis. In this catalogue (p. 76-78)
a description of the Smavedic gamut is given; the author correctly
translates the Nrada-sikf:1-passage, not well understood by Burnell, and
interprets it according to usage as meaning the tones t es dca bes, here
then the second and sixth tones are flattened, and the tones 4-6 do not
I;
11
form a regular descending line. In the chapter The Vedic and classical
Hindu Music I shall adduce arguments for my supposition that the oldest
form of the Smavedic scale was a pentatonic gamut arrived at by quintal
tuning, for instance a g ede or e d c. a g without a note 6, and that only
at the time ofthe Hindu sruti-system it was transformed. At all events
11
9= J
c
r
g
6J
d'
a'
e"
12
IV
corda
IV corda
13
by auditive intuitio.n. But in the classical perio.d a fixed system o.f tuning
was attained, with use o.f fifths, o.f melo.dio.us sixths and thirds; and this
system penetrated even in the fo.lkso.ngs. Similarly as in Greece Pythago.ras and his scho.o.l carefully studied the arithmetical pro.po.rtio.n between
the vibratio.ns o.f the musical intervals, so. in India a minute auditive
study o.f the intervals must have been made.
No.w we kno.w that Pythago.ras preached metempsycho.sis at abo.ut the
same time when in the Upani~ thc saIpsra was pro.pagated, that the
same Greek philo.so.pher and scho.lar laid do.wn the fo.undatio.n o.f geo.metry
when the theo.rem called after him was in India practically applied acco.rding to. the Sulvastras in the co.nstructio.n o.f altars. By analo.gy we may
fo.r the present surmise that the minute study o.f musical intervals in India
to.o.k place at abo.ut the end o.f the Vedic perio.d. The co.nsequence o.f this
study was that the o.riginally very simple pentato.nic scale was gradually
replaced by the intricate ruti-system with its quintal, tertial and septimal
tuning and its great variety o.f grmas, murcha1UUJ, rgaIJ etc.
It is therefo.re quiw o.ut o.f the questio.n that mo.dern Hindus educated
in their ruti-system co.uld sing a sman co.rrectly in the histo.rical sense
o.f the wo.rd; indeed their pro.ductio.n o.f smans sho.ws an indefinite numher
o.f perso.nal differences and is in flagrant co.ntrast with the no.tatio.ns o.f
the Smavedic manuscripts, which does no.t preclude that their rendering
may have in so.me cases a great charm, even fo.r an Occidental audience.
The gamut, then, which o.n histo.rical gro.unds and fo.r the sake o.f further investigatio.n I have accepted, runs in downward directio.n as edcag =
12345. But in a small set o.f smans, there was intro.duced a sixth
to.ne, which, ho.wever, did no.t get the character o.f a tonic. So perhaps
the pentacho.rd edcag was turned into. the hexacho.rd edcagl with to.ne 5
functio.ning as dro.ne tone and regular final tone. Further as an ancient>
so.urce info.rms us, the to.nes 1-3 were respectively uduluuJ o.r harmo.nic
derivatives o.f the tones 4-6; and in the practice o.f the chando.gas the
to.nes 4 and 5 were o.ften used as substitutes fo.r land 2.
As to. the use o.f tone 5 as dro.ne tone I sho.uld like to make the fo.llo.wing
remark. Acco.rding to. BrhmaJ}.a-texts there were in great sacrifices throo
main chanters who. partly sung an o.wn divisio.n o.f the chant, but partly
sung to.gether (tho.ugh uniso.no.) refrainlike parts, nidha1UUJ. The so.lo. so.ngs
o.f these chanters were acco.mpanied by three upagtars, subchanters,
who. sung the syllable ho o.n to.ne 5, and by the yajiiapati, who. sung the
ho.ly syllable om o.n the same pitch. One will no.tice that there is in Burnell's
gamut the distance o.f a diminished. fifth between tone I o.r land tone
5 o.r b. It is inco.nceivable that aVedie singer co.uld into.ne this to.ne I
co.rrectly and sustain it, as wo.uld o.ften he demanded, during a who.le
pda against the dro.ne to.ne 5. In the pentatonic gamuts such a difficulty
co.uld never o.ccur.
So far I have mentio.ned the facts which plead fo.r my hypothesis.
I must, ho.wever, co.nfess that there is a detail which sooms to. indicate that
at a rather early date there existed between the tones 1 and 3 a minor
third and that tone 2 had two positions, either a semitone or a whole tone
beneath 1. This flattening was indicated by a special accidental. When,
however, these innovations took place, the position of the tones 4-6 was
also altered, but assuredly not in the way of the tradition of which Burnell
has been a witness.
In my own vocal performance of samans I am wont to sound the dronetone on my violin in those passges which were probably sung by one
priest; and the nidhanas I sing with greaterloudness; however I have not
yet made a detailed stU9.y about the division of the chant. In the staffnotation I only use the lines and leave the interspaces open as an expression
for my uncertainty about my surmises, for in this way no associations
will arise with Occidental music and the reader's imagination is left free.
After the pitch ofthe tones the musical metrics will have to be described.
In general the musical metre rests on the poetical metre. There is, however,
a difference. The versification, namely, obeys a similar rule as in Greek
and Latin, thus in Sanskrit prosody the theoreticians distinguish between
heavy and light syllabies, guru and laghu. A syllable is light when it
contains a short vowel followed by one or no consonant; vowel-length
or any following consonant-group causes heaviness. In the metre of chant
there is only a difference between long and short vowels, the character
and number of consonants between two vowels being irrelevant. Syllables
with a short vowel are reckoned to la-st one matra or musical time-unit,
syllables with a long vowel last two matras. Long vowels with an r or 0
(zero) over them are sustained beyond their normal duration. The vowel
of a syllable at the end of a parvan or melody-member, lasts three matras,
and in case it is followed by vikrti-tones, the prakrti-tone keeps the length
of three matras 1). Sometimes for sacro-musical reasons a short vowel of
the text is lengthened etc. At all events the samans are never to be divided
in bars based on the numbers 2 and 3 and multiples which only contain 2
and 3 as factors, as is the rule in European classical music. The chant is
divided in parvans, melody-members, marked in the notation by a dal).la,
and in the performance by a pause, at the beginning and end. Sometimes
a parvan contains a complete pada, verse-member, or even more than
one pda; generally, however, the pada contains several, a greater or
smaller number of parvans. Since the metre of the chant is based on the
metre of the verse, the writing and printing of smans should be based
on the verseform, with stobha and text characterized by different lettertype.
As a minor no te to this part of the introduction I hav to remark that
in the printed staff-notation I do not indicate the length of the tones and
in my vocal illustration I give this length only approximately, since all
the details in this respect are not yet satisfactorily clear to me.
1)
15
After pitch and duration the spiritual contents of the chant should be
characterized in brief. In these ancient saci'al songs the ancient Hindus
address themselves to their beneficial gods, yet this world is besides
crowded with a host of harmful beings. So the chant is a means not only
for pleasing gods but also for imposing upon devils. For this reason and
other magical purposes the udgtar sings his part of the chant in the
most mysterious forms; in one case for instance he replaces all the syllables
by the vowel 0, or he retains, a very commoI'l expedient, only the vowels
of the syllables and he substitutes bh for aU the consonants and consonant-groups; and in general the text of the chanters is subjected to a
great many changes, so is often prolonged to -i, 0 to o-i, or the
vowels and diphthongs i, i, e and ai are replaced by -i or yi, a diphthong of which the components are clearly divided in the articulation,
although in the synable-counting of the melody it is reckoned as one
syllable. Remarkable is the way in which a pda is cut up into parvans
without taking into account the semantic connection of the syllabies.
FinaUy stobhas are added, either meaningless but very holy syllabies, or
expressions of wish, quite loose from the context. All the time the chant
remains destined for the omniscient gods, who see through all these
mutilations easily, and very likely read immediately in the soul of the
chanters. And therefore these chandogas ought to remain conscious of
the thoughts and wishes wrapped in their mysterious chants. And the
modern investigator should consider himself to be one of those gods to
whom the verses are dedicated and he should take all precautions to look
through the magical adornments. And one of the first means to this
purport is to sing the chants to himself and to copy the smans in verseform with distinction of pu!?pas, stobhas and text and with notes as to
the translation and ritual use.
At this point I have finished the general part of my reading and I am
now co ming to the exposition of details. Here I wish to consider the
relation between the spoken and the chanted Vedic language. Leaving
aside the accentuation of contracted syllabies, i.e. the theory of the so
called independent svarita, we can say the following: the spoken Vedic
language moved over three pitches. In the first place this rule was valid
for the daily spoken language of the Vedic age, but also for the softly
repeated prayers of memorization, the japas, on the sacrificial field. On
the other hand the reciting priests were allowed either to stick to one and
the same pitch, in other words to speak in a strict monotone, or to use
an undulating accentuation which according to sacral rules differed in
certain respects from the tone-movement of the bh!?.
The researches of Herman Oldenberg have taught us that we may take
PQ.ini's description of the ac cents asa basis and that the ways of accentuation followed by the priests in their sacrificial actions may be considered
as artificial forms. There is, however, in my opinion, one exception in the
16
Bh.
I.
1
~im
s
s
s s
, , , ,
1
l'
[tviiam I hotdrarp
ife P'!!rohitarp Y!!iiiaaya devam
-
s I
l'
ratnadhtamam
All the words here except the second have one syllable bearing an udtta, so agnim is oxytonon, etc., but the word ile as verb in the main
clause is enclitic. Once we know the place of the high accents the further
voice-melody is known. For whenever the rule can he applied, tone 1 or
17
81281231282812
purohita~ yaiiiasya evam rtvijam
agnim f4e
12
hotlJ,ra~
812
ratnadhtamam
Here we have to do in the fust place with the general Smavedic rule
of orthography that a syllable without any digit of accent has the pitch
of the last syllable which had such a digit. Therefore the second syllable
of ile is pronounced on accent 2 and in the third pda the tone of the
syllable -fii,- is carried on over -ra."" and rat-.
As to the ac cents themselves, when we compare the Smavedic with the
bh~-version we notice that the udttas have remained: -gnim, -ro- etc.,
with one exception: the syllable -vam of devam. Similarly the preparatory
low tone remains low: ag-, pu- etc.; likewise the middle.pitch tones are
unaltered: -g,e (-Ie), -ta."" etc. The most important change is the change
of the curved aftertone into a middle-pitch tone as we perceive in the
syllables i-, -hi- etc. This is probably a sacerdotal prescript. Of another
nature is the lowering of the syllable -vam of devam; here we meet with an
intricate accent-rule running: tone 1 is replaced by tone 2 if there is no
opportunity for tone 1 to flow out into tone 2 in the following syllable; a
consequence of this rule is i.a. that tone 1 on the last syllable of a pda
closing a phonetical unity is always replaced by tone 2. Even a series of
tones 1 is changed into a series of tones 2 when the last of these tones
lacks the required possibility of flowing down. This accent-rule is so in
tricate that we had better &scribe it to an automaticunreflected law of
sound that to a conscious prescript. In this connexion I have to mention
a striking peculiarity: whenever the melodization of a. text is strongly
bound to its accentuation, in such cases tone 1 of the general bh~ (and
likewise of the J;tgvedic recital) is maintained. This tule rather agrees with
Caland's hypothesis that originally the smavedic sacerdota.l pupils had
no rcika of their own, but used the J;tgveda-saIphlta, or that an anthology
from it was prepared for their needs. So the accent-rule, just formulated,
is of a relatively recent date. Now I take up the J;tgvedic a.ccentuation,
IS
which I des cri be according to the theoretical textbooks and the modern
grammars based on them:
~V.
~im
S.
*
".
.S. . s
"
"
"
"
"
hotra7Jt ratnadhtamam
Here wc see the high tones of the bh~ lowcred to middle pitch,
although they are still called udttas, a fact which has two consequences:
Uy, the curved aftertones rise above all the other syllabies, 21y, the
syllables which were formerly udtta are on the same pitch with the
pracaya-syllables. Consequently the syllable -gnim is on the same pitch
as the second syllable of the wordirf.e. The J;tgvedic accentuation is evidently based on a sacerdotal prescript. Likewise the freedom, given to the
hotrakas to recite their hymn in strict monotone, is of sacral nature; it is
a peculiarity reminding us of the bh~ which demands monotony in
speaking to a person at some distance. Not only for the recital but also
for the chanted verse th is solemn monotony is of great importance.
From the accent-systems of the spoken language we now pass on to the
Smavedic melodization. Again I first take an example: the strophe which
I have now examined three times in succession. In its Smavedic performance with its vocalic changes (pu~pas) and interpolated ornaments
(stobhas) it runs as follows: 1)
AGG. 4,1,13. I./mano hu/vayo hu/varco hu/=/22.2./22.2./22.2./
BI. 11 287. II./agnim/irf,i/purohitrn/ = /21. /112' /323 234 5. /
I1I./iha hufi<.J hu/yur Uu/ = /22.2. /22.2./22.2. /
IV./yajiia-/sya di-/vam rtvijm/= /21/1.1 2/3.23 234 5./
V./s\lar hu/jyotir hu/rtarp hu/= /21. 1./22.2./22.2./
VI.lhot-lra'f!t r-Itnadhtmml = I III 1.123/ 32 345 5656'/
VII. le/mahbl = 123 ./ 13 2345' I
Thc thl <le lines of the verse-strop he are here increased to seven lines
by the addition of the stobha-lines I, lIl, V and VII. These stobhas
consist partly of words, partly of meaningless but very holy soundsyllables such as hu and the vowel e. The words used seem in th is case
to have a meaning: manal}" vaya~" varcal}" mind, vital power and appearance
indicate man; iha, irf., yul}" 'here', the beverage of strength and the
duration of life express the earthly life of the priest; svar, jyotil}" rtam,
heaven, heavenly light and divine order indicate the godly in this world,
and maha!}" extension, encloses the three spheres indicated.
The lines I1, IV and VI, which together contain thc text, give rise t,1)
the following remarks. Only in line 11, the first text-line, the division
into parvans agrees with the grouping of the syllables as parts of words,
1) For the methods adopted for the transcript ion of accentuation, melodization
etc. see infra Chapter I Section 11 (Historical Evidence), Preliminary Notes.
l!)
20
I.
1"
~hya"",
1 "
giU~vittamam
Sung at the end of the sman it has the following melodic form:
SA.
I- - .
/
--.
212
~hya"",
2lt I
r128
gtuvitta~2345m
I"S S I.
.~
..
1"
"-
...!2!ZJ
SA.
I~
1 2
2r
Ir
2 r
The melodization follows the same ruIes as the stobha of SV. 1, 1321,
given above; however the descending gamut ends with tone 4, an interruPted svrya.
GROUP 11: cases in which the melody follows the bh.-accentuation
except in the syllables with acoustic metalepsis of tone 1.
The fust example is a stobha-clause. The sman to which it helongs
is a magical chant on the occasion of a fire. The poet acknowledges that
the God of Fire and the fire-causing God of Lightening have come to
earth according to legitimate disposal ; earthly witnesses of authority can
affirm this. H, then, in general the poet acknowledges the right of these
gods and is grateful to them, in this special case he entreats them to he
lenient. The focus of the fire is called in this oonnexion the womb towards
which the evoked Gods have gone.
21
I
1
"-
Sii..
...---8
6"
1r
In the bha""aform -nim as preparation is low, -draS has the curved aftertone, the conjunction ca and the verb are enclitic. In the melody the fust
parvan contains the word yonim with great melodie movement and the
second parvan consists of the complete stobha, in which both the preparatory low tone of -nim and the curved tone of -draS have become
high tones.
The saman which serves as second example has for contents an exalted
praise of Indra; if the God should possess a hundred earths and a hundred
heavens, his own splendour and extent would surpass the effulgence of
their thousand suns and their wide extent. The verse belongs to the
strophetype which normally possesses 8 + 8 + 12 + 8 syllabIes, a frequent
form of pragatha; 8yulp and 8uryalp, however, are contracted and remain
so in the chant-form. The samavedic memorizing-accentuation will first
be given. When here a syllable has received tone 2 instead of tone 1
because this tone would not get the opportunity of flowing into a following
tone 2, this has been indicated by italic type.
SV. 2, 212. ya(d) dyava indra te satarp,
BI. III 431. satarp, bhumr uta 8yulp
na tva vajrint 8ahasrarp, 8urya anu
na jatam ~ta rodas
1.12.22.2.32.
31.12.32.2.
1.2.22.323.23.23.
2.31.23.122.
BI. Il 388.
=
=
=
=
=
/1.11.22.2.21./1/
/21.11. 21. /11/
/11.11.1./
/1.1. 22.212.12.12. /
/11.1122./
/1.11.12.112./1/112345/
Here according to the rule found by Oldenberg all the curved aftertones of the bha~ have been replaced by 1; but moreover in the second
1)
22
syllable of the word asva of a stobha and in the first syllable of the word
jatam in the last text-line the preparatory low tone between two udttas
has been altered.
GROUP III, two instanees in which the monotone predominates. The
first example is a well-known hymn to Savitar in gyatri-form (J;tV 3,
62,10-12; SV. BI.V p. 601). It is unnecessary to give here the accentuation of the text; in chanting-form it runs:
23
/2221./2221./2221./
/11.112./112.112./
/1122.22./11222.22./
/11222./1122.22./
/112.222./112.222./
/21.21.112.222./
/12.122.1122.1122.1122./
24
BIBLIOGRAPHICAL TABLE
In the chapters and footnotes the books of this table are referred to by the
name of the author.
Benfey, Th., Die Hymnen des Smaveda, Leipzig 1848.
Helmholtz, H., Die Lehre der Tonempfindungen, Braunschweig 1863.
Grassmann, H., Rigveda bersetzt etc., Leipzig 1876 and '77. (An easy introduction
for students of ancient music).
Burnell, A. C., The Arsheya brhmatta, the Sanskrit text edited together with ....
an introduction .... Mangalore 1876.
Burnell, A. C., The Sa1{&hitopanishadbrhmatta, the Sanskrit text with a commentary
etc. Bangalore 1877.
Oldenberg, H., Die Hymnen des Rgveda, Bd. I, Metrische und textgeschichtliche
Prolegomena. Berlin 1888.
.
Ser;;agiri Sstri and Railgcii,rya, A descriptive catalogue of the Sanskrit Manuscripts
in the Govemment Oriental Manuscript.Library, Madras, vol. I Vedic Literature.
Madras 1901-1905.
Caland, W. et V. Henry, L'agn!loma, Paris 1906.
Simon, R., Das P~pastra mit Einleitung und Uebersetzung. Abh. K. Bayer.
Akademie der Wiss. I. Klasse XIII. Bd. lIl. Abt. Mnchen 1908. (Abbreviation:
PS).
Felber, E., Die ind'ische Musik der vedischen und der klassischen Zeit. SitzBerichte
der Kais. Akademie der Wiss. in Wien. Phil. Hist. Klasse, 170. Bd. 7. Abt.
Wien 1912.
Clements, E., lntroduction to the study of lndian music, London 1913.
Fox Strangways, A. H., The music of Hindostan. Oxford 1914.
Macdonell, A. A., A Vedic Grammar for students, Oxford 1916. (On thewholeihereader
will find here sufficient information. For a few details works such as Wackernagel's Grammar and Benfey's Introduction in his publicat,ion Die Hymnen
des Samaveda (1848) are required).
Hoogt, J. M. van der, The Vedic Ohant studied in its textual and melodic form.,
Wageningen 1929.
Caland, W., Paiicavi.""sa-Brhmatta, Calcutta 1931.
Dresden, S., Algemeene Muziekleer. Naar den llden druk van J. Worp-S. van
Millingen geheel opnieuw bewerkt. Groningen 1931.
Alain Danilou, Northem lndian Music, London and Calcutta, 1949. (The book,
which scarcely bears on Vedic music, is not referred to in the following pages).
The Sii.ma-Veda-SarphitA is quoted from the edition of Satyavrata Sii.maSrami,
Bibliotheca Indica, Calcutta, 5 volumes 1874-'78. Abbreviations: SV. 1 = PA. =
Prvrcika; SV. 2 = UA. = U ttarrcika.; AS. = r8J.lyaka-Sarphit; GG. = Grii.megeyagii.na; AG. = AraQyegeyagii.na; "OhG. = "OhagAna.; "OhyG. = "Ohyagii.na; BI. =
Bibliotheca Indica; I - V refer to the volumes.
CHAPTER I
THE VEDIC AND CLASSICAL HINDU MUSIC WITH
SPECIAL REFERENCE TO THE TON AL SYSTEM
PRELIMINARY NOTE
Besides the many fanciful renderings of the old smans given by modern
smagas, many of which can be found in Fox Strangways' chapter on
the Sman, we possess two traditions delivered by sacerdotal schools and
noted down by the trustworthy witnesses Burnell and Se!jlagiri Sstri.
The latter has not very clearly worded his description, which fact I shall
afterwards return to.
According to Burnell the smavedic gamut runs as follows:
(7)
(7)
28
The exposition in this chapter will be arranged according to the following plan:
Section I. The general line in the development of musie. The discovery that musical intervals as psychical facts are based on vibrational
fractions as physical causes. The modern Hindu sruti-system. The septimal
tuning due to foreign influence. . . . . . . . . . . . . . . . p. 28
In the study of the Vedic chant a great deal of work has to be devoted
to the theoretical treatises translated by R. Simon. From the PancavidhaStra and partly from the PU!;lpastra we leam the division of the smans
into solos and nidhanas. As soon as we have actually leamt this it will
be of help in the study to characterize the solos by the added dronal tone.
Reasoning thus it occurred to me how unfit Bumell's rendering of the
smavedic gamut is with b-f as distance between dronal tone and tone 1.
And then I remembered what I had leamt in my schoolboy-days from
Helmholtz' most impressive book,the first edition of which I have put
down in my bibliographical tabie. According to authorities quoted by
Heimholtz many folksongs, specially Chinese and Keltic songs, have
preserved the pentatonic scale; Helmholtz took up by way of explanation
the tones fcgad, whereas (in my Introduction) I preferred the tones of
our stringed instruments, but this is immaterial. From this importance
of the pentatonic scale follows that mankind has standardized the tones
of its voice by musiCl instruments. The fifth and its supplement in the
octave, the fourth, were thus the first tones fixed and so there arose the
gamut cfgc'; then second fifths from f downwards and from g upwards
were added: (bes)cfgc' and cfgc'd'. Having got so far by fictional reasoning
I found the following affirmation in a book on the General Theory of
Musie by S. Dresden (1931). From this work I quote with a few omissions
the following passages:
29
"Our present day gamut of seven tones has had in the course of time
many predecessors of fewer notes. Probably that of three notes, for instance elg, would have been the oldest, then followed series of four tones
(tetrachords) in different grouping of the tones. . .. By putting two
tetrachords together, either next to each other or so that the last note
of the first tetrachord was the first note of the second tetrachord there
originated a gamut of seven tones. In the Greek musical system the
tetrachord!! were represented as descending, by which order the connexion between the different steps and the basis or final tone was closely
expressed. "
"But before these arrangements of tetrachords into one gamut there
must have existed a gamut of five tones, a pentachord,which was in use
not only in Greece, but among many Oriental and Occidental nations,
for insta nee the series edega. For convenienee' sake and by way of comparison we could describe this pentachord as a major gamut with omission
of the fourth and seventh notes. "
"In this old gamut of five tones there have been composed, even in
later days, several themes and motives, i.a. Beethoven : Overture Leonore
no. 3 Allegro; Grieg: Peer Gynt Suite no. 1 'Morgenstimmung'; Mahler:
Lied von der Erde, the main motive."
"Finally we have to mention the hexachord." - Under this heading
Dresden ment.ions the three hexachords of Guido of Arezzo ( 1000 A.D.):
edelga, gabede, Iga(bes)ed.
To this passage I should like to make the following annotations. The
note common to two adjacent tetrachords would be called in Sanskrit
the aIpsa, 'the tone which divides' (1), on tl\e function of this aIpsa in
Hindu music Fox Strangways has an interesting passa,ge; according to
him tone 3 was the &Ipsa of the original vedic gamut. This seems very
likely when we accept the pentachord as original, but in the Pu~pasiitra
the tones 4-6 are parallel with the tones 1-3.
To the Hindu mind as weil as to the Greek mind the pentachord ran
in descending line, although in tuning the upper tones were based on the
lower tones as we know from the expression udiiha. The descending
direction is clearly shown in the final svryas: 345, 2345 or 32345, and
12345.
30
31
plied 12PO times with itself will give thc vibrational fraction of an octave
= f. Consequently q1200 = ; and 1200 log q = log 2, thus log q = ~~.
If we then wish to express any interval = rt in cents we get the equation
.], = q", thus log a = x log q or
_ log a _ I
. log 2 _ I
1200
- I
x - log q - og a, nOO - og a X 0,3010300 - og a X 3986.
Examples: lst example: how many cents are contained in a pure
fifth? Fifth = a = ~, thus number of cents = x o,~ log ~ x 3986 = log 1,5 x
x 3986 = 0,17609 x 3986 = 702 cents. - 2d example: which is the
number of cents contained in a whole tone? (Quintal) whole tone = ~;
x = log ~ x 3986 = 204 cents.
Whereas Greek music alld generally speaking, European musie was
supported by the theoretical insight in the nature of intervals, at all
events in Hindu music a minute direct taxation of intervals must have
separated Vedic and classical music. In order to get an insight in this
development it is desirabie to take one more step in the European theory
of music.
3. The intervals are divided into harmonie or restful and disharmonie
intervals. The harmonie intervals are characterized by fractions of which
numerator and denominator are low digits, specially 1 - 6. \Ve get a
series of gradually smaller harmonie intervals wh en we take those of
which the vibrational fractions are: the octave, ~ the fifth, ~ the fourth,
~ the (melodious) major third, ~ the (melodious) minor third. Fifth and
r-
1/5
T"
d"'b" i
~
~
~
~
~5
32
octave 1200, the fifth 702, the fourth 498, the major third 386, the minor
third 316. All these harmonious intervals in their correct melodious form
the violinist can produce on his instrument without any inaccuracy,
specially on the two lowest strings; let us take for example the g-string.
For thls end the violinist plays the flageolet-tones, putting very lightly
the nearest fingertop against the point which divides the string in the
proportion of ~ and ~, of i and ~, of { and ~, of ~ and ~; then he produces in
pure melodious tuning the tones g', dil, gil and bil, all flageolet-tones which
are in practical use. Moreover by putting hls hand in the first position
he can after some searching divide the string in the proportions ~ and ~,
Th& flageolet.tones on the g.string.
g'
dil
gil
bil
dil'
and ~, and so produce bil (the same as mentioned before) and dil'. By
different combinations he can thus produce the intervals mentioned above.
As a rule, however, the violinist plays th tones by pressing the fingertops firmly on the strings and he gives the intervals according to hls
European training in tempered tuning, e.g. the major third with 400 cents
instead of 386 cents required for the melodious major third.
Disharmonie intervals and intervals resembling the melodious intervals
can be easily found by addition or abstraction. Here I give only a few
examples. The major whole tone, Le. the whole tone arrived at by quintal
tuning, for instanee: (c-g) + (g-d') - (d-d') = c-d; ~ x ~ : = ~;
702 + 702 - 1200 = 204 cents. The minor whole tone, i.e. the whole tone
arrived at by the combination of quintal and tertial tuning, for instanee :
(c-e) - (c--d) = (d-e); ~: ~ =~; 386 - 204 = 182 cents. The difference
of these two kinds of whole tones = ~ : ~ = ~, or 204 -182 = 22 cents.
More examples will be met with in the passage on the Hindu sruti-system.
Now we turn to the intervals with a vibrational fraction which contains
7 or a multiple of 7 in numerator or denominator. For their explanation
we consider the horn. The hornist namely can play a long serial of partial
tones by his embouchure, i.e. the attitude and tension of hls lips whilst
blowing. The tone, however, whlch theoretically corresponds to the total
volume of air in his instrument, he cannot produce. Now, this series, if
we take the C-horn, is the following.
Partial tone:
(1)
2:
Fraction:
Cents:
:l
J
f
1200
702
r 6Ol
11
J J pr
'98
888
3111
10
rL~
10
t
2117
281
20' 1811
etc.
33
Here we see that the hornist can easily produce the major tone of 204
cents and the minor tone of 182, whereas the one whole tone used in modern
European music amounts to 200 cents. Moreover he can produce a small
minor third above the sixth partial tone. This minor third g'-bes' (septimal) has a number of 267 cents against 300 cents of the minor third in
equal tempering and against 316 cents of the tertial minor third. When
we substract from the septimal minor seventh (i or 969 cents), for instanee
c'-bes', the melodious major sixth (~or 884 cents), then we get the 'septimal
semitone' of 969 - 884 = 85 cents. Peculiar enough the Hindu srutisystem uses this septimal semitone twice in its gamut, but it does not
use the septimal seventh, neither does it use the melodious major sixth
in the most common gamut. Evidently the kind of semitone here described is due to Arabian influence.
The Hindus have revealed great genius in their construction of musical
melody; here we only occupy ourselves with their tonal system. By
listening sharply they discovered, like the Greeks, that the major whole
tone is wider than the minor whole tone, and they found the tertial semitone by distracting the major third from the fourth; that is according to
our calculation ~ : ~ = , or 498 - 386 = 112 cents. Comparing the intervals: major whole tone, minor whole tone and tertial semitone they took
their proportion to be 4 : 3 : 2, and so they spoke of 4, 3 and 2 srutis,
taking the sruti to be smaller than the tertial semitone. Now these three
tones have 204, 182 and 112 as number of cents, that is, simplified, the
approximate proportion of 9 : 8 : 5. So the subjective taxation of the
Hindus was far from correct, but it gave them a means for naming the
intervals, and the rest was done in singing by auditive correction. And
with the help of their musical intuition they built up a great many gamuts
of which they described the function which the several steps in them had
got: final tone, drone-tone etc. The tones used in the different local gamuts
were afterwards collected in one series, the so called Indian sruti-system
which runs as follows:
1. septimal semitone = septimal seventh minus melodious
major sixth
85 cents
112
2. tertial semitone = fourth minus melodious major third
"
182
3. minor whole tone = ~ =
"
204
4. major whole tone = ~ =
"
294
5. artificial minor third = tertial semitone plus minor tone
"
316
6. melodious minor third
~ =
"
I;
386
7. melodious major third
,
"
408
8. quintal major third = 2 x major tone
"
498
9. fourth = !S =
"
HJ. the artificial fourth as quintal major third plus tertial
520
semitone
"
590
fifth minus tertial semitone
11. the enlarged fourth
"
SlO
12. the diminished fifth
fourth plus tertial semitone
"
34
3
702 cents.
fifth
2
787
the septimal sixth = fifth plus septimal semitone
"
814
the melodious minor sixth = 1200 minus 386 =
"
884
the melodious major sixth = 1200 minus 316 =
"
the quintal major sixth = fifth plus quintal major
tone = 1200 minus 294
906
"
996
18. the quintal minor seventh = 1200 minus 204 =
"
19. the tertial minor seventh = 1200 minus 182 =
1018
"
1088
20. the tertial major sevellth = 1200 minus 112 =
"
21. the artificial major seventh = melodious minor sixth
1108
plus artificial minor third
"
1200
22. the octave = f =
"
When we substract the inter vals which follow one another we get as:
differences 27, 70, 22, 90, 22, 70 etc., which were all called srutis! Yet the
melody-formation of the Hindus has its merits and impresses other
nations, and as to its tone-system it found its origin in the discovery of
major and minor whole tones. Seeing now how late this discovery was
made in other countries, we may surmise that the smavedic gamut was
originally of a pentatonic character. Only whell the width of the accents.
of language altered and the tonal base of music got another aspect, the
distance between the numerals 1-3 could be changed into a minor third
and the digit 2 could get a double meaning (led and f(e8)d), but then.
simultaneously the term 'udha' i.e. harmonic derivative in upwards.
direction got both the meanings of fifth and fourth, so that 12345 forinstance meant fedca with different intervals between f-c and e-a.
Before leaving this subject it may be useful to consider the so-called
sa-grma in relation with the sruti-series. This sa-grma consists of the
note~ ~ja or ~ (sa) = c; fl:!abha or ri = d, 204 cents; gndhra or ga = e,.
386; madhyama komal or ma komal = f, 498; paiicama or pa = g, 702;.
dhaivata or dha = a, 906; nil?ii.da or ni = b, 1088; ~a4ja = c, 1200 cents.
Two things here deserve our attention. In the first place the names.
sa and pa have only one meaning, (very rarely at least a flattening of ~
takes place); they indicate the tones c and g; all the other names have
by means of accidentals four meanings. The notes c and gare simply
called suddha, the notes ri, ga, dha and ni are called in their sagrmafunction tivra, on the other hand the tone ma. is in the sagrma called ma.
komal, whereas ma tivra is fis of 590 cents.
In the second place the intervals ~a-pa, ri-dha, and ga-ni are all equal
to 702 cents. These two facts taken together seem to indicate that the
sagrma has developed out of a hexachord without the fourth. This hexachord had thus the form cdegab, which in its turn arose out of cdega or degab;
in other words the development of the tonal system in India a.nd Europe.
followed similar lines in the beginning.
13.
14.
15.
16.
17.
35
SECTION II
HISTORICAL EVIDENCE
THREE PRELIMINARY NOTES
36
4. Whcn the mark follows the digit 2 in the same syllable, this is
spelled as 22; when this mark is placed on a syllable following a syllable
marked by this digit, this is expressed as 22; when a vikrti-tone bears
this mark, it is written as 2.
5. The numeral 7 is replaced by 2_1, cf. Simon Einleitung p. 517 s.v.
abhigita; the avagraha when indicating a vinata, is replaced by L2'
cf. Simon. Einl. p. 522 s.v. vinata.
A
ndhlJ, = 122. The meaning of this type is defined by SV. 1,3132 The
verse-strophe consists of a tri~tubh, of which all the pdas follow the same
melodization. Each pda forms a parvan, and the two last syllables are
everytime repeated twice with lengthening of their vowels. The same
couple of stobha-parvans follow these repetitions, whilst a stobha-line
precooes and follows the chant-strophe; at the end two new stobhaparvans are met with. The chant may be symbolized as follows, full
stops indicating the end of words:
/ihi = 123/ ihi = 122/ ehiy = 3322/ ov = 3234 5/ hi = 2/
Ist pd:/ 222.22.22223.123/ 12~/ 32:,/
/
/
4th pda:/ 22.2.22.222.23123/122./ 3322/
/
/
/ihi = 123/ ihi = 122/ ehiy = 3322/
/ hi = 234/
/auhova = 553/ i = 31345/
So we soo that what in Simon's type ndhlJ, sooms to he a sym.bol 2z at
the end, really precooes a following 3. Of the applications of this type
37
as the four syllables which form the closing parvan of pda a, see BI.
I 909. In PS. 8, 147 this type is applied in the description of the saman
Lausdya to the text SV. 2, 502-504, BI. IV 136. The first four syllables
of pda a in the first strophe run according to the arcika: pro ayiisid; now,
in the yoni (SV. 1,557; BI. II 180), these four syllables forming one parvan
are melodized as /23 2345/, the augment a being alided after pro. The
varavantam-type /2(2)3 2345/, defined by SV. 1,173, BI. I 121 is here in
the iiha, where the augment is restored, changed into /3235/, vide BI.
IV 136 line 5. Here again the flat is ignored.
naimis cakrauva = /ll.122/. The type is defined by SV. 1, 94. The
words quoted run in pda d of thercika: nemis cakram ivbhuvat; in the
chant they are altered by pu~pas and stobhas into:
[naimis cakrauv/iva/ bhuvat/ = /ll.122/ 3 234 5/ 21/.
Here again in the sman 2 is found before tone 3. The type is applied
by PS. 8, ll9 to the second and third chant-strophe of SV. 2, 463-465,
a sman of which the text is given in SV. 1,446,445 and 444. In the siitra
mentioned it is said that only in the first of these three chant-strophes,
thus in 2, 463 the nemis-type is left unaltered. Now in the arcika 2, 463
runs as follows:
pra va indraya vrtraha'Y(/,tamaya
vipraya gatha'Y(/, gayata ya'Y(/, jujo~ate
The five last syllables of verse-pda. d (vide BI. IV 100 1. 10) are by
and stobhas altered into
pu~pas
/1.12.23/2/1'22'3'52/
38
BRAH~AS. - We turn from the SaIphits, in this case the SmaVeda-SaIphit, to the brhmaJ}.as. This class of literature is of interest for
us with reference to the terms wpagiitar and stkna, this word were to
mean saptaka.
As early as the year 1855 the term upagtar was registered by the
Petropolitan Dictionary as found in three brhmaJ}.as and brhmaJ}.a-like
texts: the Taittiriya-SaIphit, the Aitareya-BrhmaJ}.a and the Satapatha-BrhmaJ}.a. Caland and Henry (p. 173) give the following note:
"Bebind the ehanters [at the main chants of the a~~ma, to begin
with the bahil;t-pavamna-stotra] the subchanters (upagtra:Q,) take
their places, at least three in number. They accompany the chant singing
constantlyon low tone (mandra-svareJ}.a) the syllable ho, only being
silent when the chanters sing together, in the nidhanas. The sacrifieer
himself likewise joins in as a subchanter but on the syllable om". - We
may conclude that the usa of tone 5 as a pedal tone is of old date and
goes back to Vedie times.
The term oaptaka is not given in the Petropolitan Dietionary (volume
VII anno 1875) as a Inusicologica.l term. It is mentioned by Clements in
39
the meaning of octave. Clements (p. 16) writes: "The Indian system of
vocal music aIlots three saptakas or octaves to the voice, each saptak
ranging from s up to ni." In the staff-notation on p. 17 the mandra
saptak ranges from F to e, the three saptaks together from F to e". "The
soprano voice would be an octave higher according to Indian ideas."
The informationis not quite clear, in Europe we are accustomed to the
idea that one individual voice does not extend even to two octaves.
Now, in the Paiicav~a-BrhmaJ}.a 7,1,7 bearing on the chanting ofthe
gyatra, it is said of the chanter: mandram ivgra iidadittha tiirataram
atha tratamarp, tad ebhyo lokebhy'o 'gsit.
Calandtranslates this: "He should begin softly, then [chant] louder
and then still more loudly; thereby he chants in view of these worlds".
And he comments upon it in the foIlowing words: "mandram, trataram
and tratamam could equaIly weIl mean 'deep, higher, highest (pitch of
the voice) as relating to the three octaves (grmas, sthnas) which are
equaIly designated as mandra, madhyama, tra (Taittiriya-prti. 22, 11)
and said to reside successively in the chest, the throat and the head (ib.
10. and cp. Nradiya-Sik~ 1, 7: ura?t ka'TJtha?t sira caiva sthiinni tri'TJi
vilmaye), each of these sthnas comprising seven tones."
Now, one can understand that the ritualist in view of the three worlds
extending one above the other prescribes that the chanter in bis three
repetitions of the songs should use a higher pitch every time. But that
these distances should he an octave apart in the European sense of the
word, it is difficult to understand, and I doubt whether by the references
to the Taittiriya-Prtikhya and the Nradiya-Sik~ we may accept
that the Vedic chanter in the oldest times had already found a division of
the octave such as from C to c into 7 steps. In tbis connexion it is useful
to bear in mind that the use of seven tones by the Kauthumas is extremely
rare and that most Smavedic chanters used a much more limited gamut
(Simon p. 524).
STRAS AND COMMENTARIES. - From the BrhmaJ}.as we pass
on to the PUfllpa-Siitra and its commentators. Richard Simon in bis
edition of tbis work refers to originaIly two and ultimately three commentaries : 1. a PUfllpabh~ya by Ajtaatru (i.a. in Ms. F.), 2. a Phulladipa
by DikflIita RmakrfllJ}.a, who is also caIled Nn Bhi and who is a son
of Tripthin Dmodara (in Ms. N.), 3. a Phulla-vivaraJ}.a by Ajtaatru
(in Ms. T.), Simon p. 485 sq. On p. 499 Simon summarizes the results of
bis analysis of the PUfllPasiitra, and what he assumes to he a proof for
the relative chronology of the composing parts; in tbis connexion he
mentions that the commentary of Ms. T. contains a quotation from
Halyudha, a lexicographer ofthe tenth century A.D., DikflIita RmakrfllJ}.&
is again later than Ajtaatru.
The commentary of Ms. T. ascrihes the PUfllPasiitra to VararuciKtyyana, the grammarian dated ootween PJ).ini and Pataiijali, and
40
41
Case
Case
Case
Case
1
2
3
4
dependent svarita .
anudtta (i.e. sannatara)
pracaya
udtta . . . . . . . . .
yoni:
ha:
ka~I;la
svrya 1-5
svrya 2-5
svrya 2 ot 3-5
Vfdhesvara 321
ak~aI;lB
aka~I;la
udtta
42
STUDIES ON THESAMAVEDA
43
23/222.321/.
And further, and still keeping to examples to the rules of PS. 9,30 and
commentaries, I want to consider the Asvavrata-sman SV. 2, 1193-95,
'OhyG. 3, 2, 9, BI. V 484. The extensive stobhas of the sman are fully
described in PS. 8, 232. With reference to the text-parvans it is said there:
piidagitis tulyiiwhich phrase praotically means: in all the pdas the melodization is based on theaccentuation. The text of the first strophe with
its accents runs as follows:
abhi viij viBvarUpo janitra'f!t = /32. 32. 3122. 312.
hira1Jyaya'f!t bibhrad atka'f!t BUpa1'1JalJ = 2323.23. 12.232./
riryasya bhnum rtuthii vasiinalJ = /122.31.231.123.
pari svaya'f!t medham rjro jajiina = 12.31.12.31. 222./
44
The last one or two words of the pdas of the three strophes run as
follows:
strophe
pOOa
a
b
c
d
II
a
b
c
janitrm
8Uparru'i~
vasn~
jajn
vi8varupm
Bam babhv
mimn~
a
b
c
avasya ret~
yukt vasn~
yajiio ddhr
bhridv
vipati~
III
last syllables
I
I
a.ccentuation
312
232/
123
222/
3123
2.312/
123
123.12/
31.123
31.222/
2312
312/
case
1
4
2
3
2
1
2
I
2
3
I
1
melodization
213 1345
232 1
123 2345
1231345 (sic
2113 z345
1. 211 z345
1131345
112.11 zau
21.123 235
21.123 2345
1211 2345
213 z345 (sic
COIT.)
COIT.)
Here the pdas I b (case 4), I d (case 3), 11 b (case I), 11 d (case I),
111 b (case 3) and 111 c (case I) comply with N's rules, that is six of the
twelve clausulae. In two pdas we very likely have to do with textual
mistakes: in I aread: 211 23{5' in 111 d read: 211 2345 .
So four clausulae remain (I c, 11 a, 11 c and 111 a), all belonging to
case 2 of N's rules, but having the svrya 3 2345 instead of 2345' So we may
conclude that thc commentary N and Satyavrata Smasrami's edition
in this respect belong to different schools or rather school-divisions, the
latter only allowing 3 2345 where the former teaches 2(32)345'
In addition to th is discus&ion on PS. 9, 30 I want to draw the attention
to PS. 8, 190 and specially to Simon's note 4 teaching that a fin al parvan
containing rcika words and preceded by a monosyllabic sound-syllable
forms a nidhana. The commentary gives here as an instance SV. 2, 101618, BI. V 187; the melodization of this sman is independeilt of the
accentuation; the last words of these three strophes are siikine accent.ed
312, giraJ.t accented 12 and the enclitic no varat; the final nidhanas are
melodized as: Ie = 23/112345/. Above we have met with the stobhaaccumulation leldharmal = 123/1123451 in SV. 1. 4292 ('dharma-sman').
In the second chapter of this book I have ex. ned the smans of the
Grme-geyagna; and there the clausulae often r.emind us of N's rules,
aresuit which is rather surprising, for the Pu~pa-Str8, is considered to
teach the derivation of the Oha-from the yoni's, collected in the Grmegeyagna; yet in an other r~spect my research is neither brought to an
45
end, for the question remains which of these smans are tl'igtar-chants
and which are prastotar-chants, but I like to postpone this question to a
later opportunity when the ritualistic sourees will be likewise adduced.
A minor note in this connexion is finally to be given to the technical
expression vrddhe-svara. From my 'Classification of the smans of the
Grme-geyagna' (I A b fJ) it will appear that the expression vrddhesvara
originally bore upon the oxytonon word vrddhe in SV. 1, 1201 which was
melodized as 22v on the other hand (l.I. I A b y) the oxytonon word
rayim in SV. 1, 221 is melodized as 321 ; so vrddhe-svara must originally
have had a wider meaning than that accepted by Simon p. 523: '32 1 '.
We must not drop the general subject of the PUli'pa-Siitra without
having considered the term 'type' mentioned by Simon p. 511 and translated by Fox Strangways as 'melodie figure' (p. 276), the correct translation being 'parvan-melody'. The latter author writes: "Mention should
also be made of a method of handing down the traditional manner of
singing. Melodie figures which constantly recur are directed to be sung
after a well-known pattem. For instanee, the caderice to the first line of
SV. 1, 1 is
"Other syllabIes, then, which have this particular cadence are said to
be 'done like hi~i". Thus:
i-
8-
bh
yi
yi
yir
"Herr Simon gives about 100 examples, but until the Smaveda notation
has been exactly interpretated it would he misleading to transcribe
them."
Before making any notations on this passage, I want to remind the
reader that the chants of the Smaveda are no music in the modem sense
of the word. The choice of the intervals in which we sing them is therefore of rather secondary importance. We should consider the Vedic chants
as a magical means for preventing the wordE! from heing understood by
the devils. The addition of pUli'pas and stobhas is therefore of the greatest
importanee, and likewise the breaking up of the pdas into small bits,
parvans, without any consideration of the way in which the syllables
belong together as parts of words; the simple melodification is a means
of solemnifying and is characterized by a tendency toward I!acral monotony and the use of a small set of melodie cadences. As to Fox Strangways' tI-eatment of the smans, as a rule he omits the dal}{las and thus
46
47
the Greeks were with regard to their later art of sculpture, that the
chandoga-chant is for the later Hindu art of melody.
SIK~S. - On the literary class of 6ik~s to which the NradiyaSik~ belongs, Winternitz; I p. 243, says in g'neral: "many of these
sik~s
are comparatively old and are closely subjoined to some Prtiskhya or other. .. whilst others are of much more recent origin" . Fox
Strangways (p. 259) basing his judgment on Burnell caIls the NradaSik~ quite modern. For us the text is of interest because of the passage
quoted from it by Burnell and Se~giri Sstri.
SECTION 111
MODERN TRADITION
4S
Smaveda, as it ought to be, I give here the first hymn agna yhi in the
Vedic and musical notation". This author does not inform his readers
how he knows that 'it ought to be' as he tells us, yet we may feel sure
that he has heard competent singers sing it like that.
But now there is a very peculiar thing: when we compare the two 'versions' of the hymn mentioned, then we notice - besides Fox Strangways'
omission of one entire parvan and of several dal).<,las - that the two
authors do not only differ in their musicological interpretation of the
numerals, but also that they cannot have had the same reading of the
hymn before them; for with Bumell the hymn ends in tone 4 and with
Se!jlagiri Sstri in tone 5. The first lectio is not only given by the BI.edition, but is moreover confirmed by the hi~i-type of the PU!jlpa-Stra.
Of minor mistakes of Fox Strangways' rendering I mention that in the
penultimate parvan one should read the stobha au-ho-v and in the last
parvan hi{!i and not rhi{!i, the r having been dropped before the stobha
au-ho-v.
At all events from the staff-notation we leam that the notes 1-5
according to Bumell and Se!jlagiri Sstri (when we do not take ccount
of the later remarks of the latter author) should be:
Seiilagiri S~tri (prima facie)
Burnell:
49
Now, whilst I have shown above in Fox Strangways a too great enthusiasm as a historian, I also have to attribute to him a certain carelessness,
which shortcomings (I confess) are quite counterbalanced by great gifts.
All the same I have to quote another passage from Fox Strangways' book
found at p. 263.
Here the author hasfirst explained how according to his ideas the smangamut could be explained by the gndhra-grma - N.B. a gamut based
on the sruti-system! -and then he continues: "There is, however, another
tradition as to the intonation of the sman-scale. M. Se~agiri Sstri gives
the scale as Ma, Ga, Ri, Sa, Dha 1) and says that the sound is that of the
rg bhogi. That rg is:
S
2:
~
Ii
7.l.
(!;
M
Q.
a.
"Drone D (which does not matter here, th drone being a later invention),
a1Jt8a E, omitted notes C and A. This is an old tradition as may be seen
from three passages ... ", h",re follow one reference to an early book of
the Mahbhrata and two references to the Nrada-Sik~. "In all three
passages the five notes are the same, and the last two out of order, this
looks as if the first five were substantive and the last optional, thus:
?:
(SJ
r.7
......
t!2
P N
50
there is a remarkable fact: if the author before writing out this hymn had
read Seljlagiri Sstri carefully he would have seen that by e the tone es was
meant. And then there is agreement, even though there is a transposition.
So it appears that Fox Strangways has taken much trouble to get
information from all sides and from well-informed scholars, but that he.
as a musician, was not enough philologically trained.
Now leaving for the moment Fox Strangwys" we return to the two
forms of information we receive from Burnell and Seljlagiri Sstri
Se~iri Sstri's ga.mut
Burnell's ga.mut
Identifying, then, the notes of the classical ljIalja-gamut with the steps
of the European c-gamut - an identification which is in confesso - we
get the following gamut as Vedic according to this passage:
Gamut of the Nra.da-Si~
ma ga ri sa dha ni (pa)
2: r r r J J J J
1
(7)
51
88a
84
ri
ri
ni 84
Ie py - 1'0
hi - taf'!l
52
ni
ssa
ri ni
sa ni ssa sa
(j r r#u~~ U
ri
~j:I~
lJ)
p
CQ -
pa
ni sa ni
sa
sa
B1l - nr - t
ri
ni
na'l'Jl
53
anudtta
fsabha, dhaivata
svarita
!i!a<;lja, madhyama, paieama"
'Ia
ri
ga
1na
pa dha ni 'Ia
We shall then get the following result: the aeeents follow one another
in the order of the ~g-Vedie aeeents, but their total eompass is, as it was
settled for the Yajur-Veda, a minor third. So we may eonelude that the
'Indian books on music' referred to by Burnell are eonneeted with a
1;tgvedie school, a eertain freedom being allowed for the width of the
intervals.
Before closing this seetion I should like to eonsider the performance of
a sman by a modern smaga and eompal'e it with the notation as it is
found in the Smaveda-Sarphit. For this purpose I have ehosen AraI,lyegeyagna 1.2.16 (arka-parvan), BI. II 409. It is eomposed on the text
SV. 2,490 = ~V. 6,7, 1 whieh runs:
mrdhana'Tfl- divo arati'Tfl- Prthivy
vaisvnaram rta jtam agnimf
54
2345/
hu
iyadoham-a
"tE, ~ e"
hlJu
iyadoham-a
55
hu
iyadoham-a
er Iff ij ri r r r
m'r - dha-na~ di
JJI
a - ra - ti~ pr-thiv-y-I),
vd
gJ f er Irrr ir rre:? ~ I
2:l flJ f re If? r ~ i r r r ~ J I
'):1
r-
kiJ - vi~
8am-r-idm
4 - Ban na1),
pij
ia - tam a- gnJm - a
tr4~
hlJu
I'YIJ
t 4
hu
ia-na - yanta
de, - vd-I),
hlJu
Urrl J ~rrrl~r@rrrlri
4iyadoham-a
diyadoham-a
diyadoham-a
4iyado - hIJ
4iya-do
hlJu - 114
iyadoham -a
ham-a
56
CHAPTER II
THREE AN ALYTICAL STUDIES ON THE
SMAVEDA-SAMHIT
PRELIMINARY NOTE
58
111
222
descending type 112
122
ascending type
221
211
1111
2222
1112
1122
1222
2221
2211
2111
asc.-desc. type
212
desc.-asc. type
121
undulating type
2112
2122
2212
1221
1211
1121
1212
2121
General remarks.
The classification contains six main divBions according to the pitch
of the final tone.
The following abbreviations are used; a > m means the accentuation
influences the melodization, M = acoustic metalepsis; unacc. = unaccented = without udatta. The chants are counted according to the
nurilber of the Prvarcika and according to the number in the series of
melodies belonging to one and the same verse. Numerals in large type
indicate the prakrti-tones, those in small type the vikrti-tones. As to the
duration of the syllables the reader is referred to the edition. Full stops
indicate the separation between words. In the quotation pw,pas are
often left unnoticed. (Moreover cf. supra p. 35 note In).
I.
59
>
>
>
60
.321/,5704/12.32 1/, In all the instanees a> m, and final 3,1> 321, after 2
in last syllable of penultimate word.
15. The parvan ends in a bisyllabic oxytonon word of a sentencestobha: 151 /udadhir nidhiM = /221.12 1/, 190 /dgahiy hi, t im/ =
= /112.11.1.12 1/, 291 2 /mah vis/ = /21.12 1/, 4721 /i~ vrdh/ = /21.121/'
In all cases a > m, M, finall> 21, after 1 in last syllable of penultimate
word.
e. The pda ends in a polysyllabic oxytonon textword; the parvan is
four-syllabic: 4705 (a-)/ghasa'Y(t8aM/ = /22321 /, 506/-bhir asmayuM = /2 .
. 232 1/, 521 (80- )/ma-matsarM = /2232 1/,
C. The parvan ends in a polysyllabic oxytonon stobha-word: 517 8 /viijt
jigivdn/ = /21.12 321/, MP /didihi/ = /232 1/,5544 /viiji jigivdn/ = /21.12 321/
(sic. COIT.). - In all the instanees of e and Ca> m, Min 517 8 and 5544;
peculiar is the maintenance of 3 in the penultimatc syllable or its change
into 23; always finall> 21,
B.
61
+ j = fI '22 45 2t/
62
jnam/ = 122 .1l234.5/, 4952 (na-)/vatir nva! = 121.11234./, 5112 , 51Jlo, 511 12
Ihirar.tyyal),f = 12211234./, sic COIT., 51215, 529/svan ldril),f = 121.1/1 234.5/,
542/ .. . jytir in-Idul),f ~ I ... 12.1/12346/, 545 (dirgha-ji-)/hviyaml= 111234.5/,
55Jllgre mahiyuval),f = /1l-12.2211~/, 563, 5662 two last syllables
repeated, 5663 two last syllables repeated, but melodized differently,
567 5 /suarvidaml = /2211234./, 5823/smolyl), lfUk..'litilndm/ with the last
o of somo changed into the stobha auviiova and with the syllable
ti changed into the stobha tauvaye = 11223234.5/112231123/12346/, 5832
(amrtatvd-)/ya gho{Jyanl = 12. 23 II 2346/ . .
The total number of .i nstances amounts to 42, of which 4 cases have the
udtta on the last syllable and are exceptions to the rule IConcl., and of
which 17 cases have the udtta on the penultimate syllable and COnBequently the dependent svarita on the last, cf. Simon p. 524, note on
PS. 9,30 fust case and supra p. 41. The remaining cases may be divided
as follows:
12 21234.5 in 681, 682
>
12)
22)
112)
122)
222)
222 )
63
64
v/c/
/ ...
>
>
>
>
>
sound-stobha iE, inserted within the reach of the last three syllables which
makes applying the rules uncertain: 62, 701, 702, 76, 116, 2881 , 3152. There
is only one case with udtta on the last syllable, 76, which, however, also
shows stobha-insertion. The number of cases with udtta on the penultimate syllable and thus going against PS. 9, 30 first case amounts to ten;
12,301 , 8P, 82, 97 5, 98, 124, 1481 , 1482,211, three ofthem may be explained
by the character of the last syllable, being a contraction of two syllabies:
8P, 82 and 97 5. Peculiar is the fact that the cadence obeys the general
rule, whilst at the same time one of the syllables on which the rule does
not bear is raised (2) 1): penultimate 2531, praepenultimate 2362, syllable
before praepenultimate 2361 , penultimate and praepenultimate together
259 - or is lowered (1 >2), syllable. before praepenultimate : 4 2, 180, 243 2.
15. Form / ... 32345 f. The final parvan consists of a sentence-stobha:
401 huve vsu, verb unacc. although beginning a sentence, BI. n 5191. 2,
/huve vsu/ = /22.13 2345 /, 402 /vid vsu/ = /22.13 2345 /, 641 four textsyllables + stobha /dty'f/t cran mah/ = /21.11.13 2345 /, 901 stobha of
eight syllabies: J.ynim indraB ca gacchathal;j = /11. 11. 2 . 223 2345 /, 1192
verb unacc. /d vsu/ = /2.13 2345 / sic corr., 1221 /agnir hutal;j = /21 .
. 123 2345 /, 1222 /sukr hutal;j = /21.123 2345 /, 1322 stobha of eight syllables
/asmbhya'f/tgtuvittamam/ = /212.22123 2345 /, 1382 /havi{lmate/ = /2113 2345 /,
141 2 = stobha 1322, 154/gva Mvl;j = /11 213 2345 /, 1653 /ghrtacutaM (BI.
n 520 1. 6) = /2213 2345/, 206/ti dvi~al;j = /12.13 2345/, 2484 /suvar mahl;j = /11.23 2345 /, 258 2 /srvase/ = /1132345/,2713 textsyll. repeated as
stobha I-sul = /3 2345 /, 2832 /stU{l/ BI. n 532 1. 1 = /2332345/' 321 2 /rtm
65
66
>
>
>
67
Sto bha hirfii" very often occurring. General type /45/5/; special types
/12345/ 5/ and / ... 12345/5/, /3 2345 /5/ and / ... 32345 /5/.
Type /45/5/ : 2, 12, 16, 171, 173 etc. etc.
Type /12346/5/ : 66; type / ... 12345/5/ : 456 2
Type /3 2345 /5/ : 343 6, 343 7 etc. etc., type / ... 32345/5/ : 575.
VI.
The last syllable always has the figuration 5668 . Only syllables of the
text are used. According to the tones we can distinguish three types
/ 123455656/' /23 455656/ and / 32 345 5668 /.
/123455656/ : 396, 5461 , 5546, 560.
/23455656/ : 65, 69 (sic corr.), 80 etc. etc.
/323455656/ : 23 1 , 232 , 342, 123, 162 etc. etc.
GENERAL CONCLUSIONS TO THE SIX SUBSECTIONS
Looking over the material given in the classification we can state that
there are the following general cases:
A. The chant-strophe ends in tone 1. This ending is strictly dependent
on the text, its condition being that the last syllable of the text bears
the ' udtta.
B. The strophe ends in tone 2 or 5. Tone 2 is the harmonic substitute
for 5. Tone 2 specially occurs in stobhas: ., hi, irfii,. Tone 5 is the most
common of final tones.
c. The strophe ends in 3 or 4. In the grmegeyagna only doubtful
instances of 3 occur. We could speak in the case of those cadences of an
'interrupted' cadence, it is as if the aim is not reached.
D. The strophe ends in the final tone 6. The cadence, as it were,
overreaches its aim.
Next to the question of the pitch of the final tone we have to do with
its function as prakrti- or vikrti-tone. Since the last prakrti-tone of a
parvan is specially stressed, we may call the use of the final tone as prakrtitone the masculine ending and its use as a vikrti-tone the female ending.
Tone 6 is only used in a female ending. Tone 1 is used in both functions
and in both cases the parvan to which it belongs, contains exclusively
the tones 1, 2 and 3. Tone 2 as final tone mainly occurs in stobhas and
with one exception (379) it is always prakrti-tone; further we notice that
it is either preceded by the adjacent tone 3 or reached with a leap from
tone 5. Tone 4 is either prakrti-tone and reached through the cadence
/3 23 4/, or vikrti-tone with the two cadences /3 234 / or /1234/. Tone 5, represented by a great many instances, is either prakrti-tone: /32345/,orvikrtitone in the two normal cadences /3 2345 / or /12346/' sometimes 5 as prakrtitone forms a separate parvan in sound-stobhas, vide sub V B v, irfii, and
hirfii" in this case it is the repetition of a preceding prakrti- or vikrtitone 5.
68
The samans ending in the cadence 5858 form a small group containing
three subgroups. In describing these samans I shall mention the place
which they have in the :.;tgveda-SaIphita, the gods to which they are
devoted, the metre in which the textis written and, if desirabie, the
irregularities found in the metre. Then I shall state whether the syllablecontractions are dissolved in the chant, and the numerical relations in
which the text-syllables are distributed over the parvans.
First subgroup: /123455858/. It is only represented by four instances.
Gramegeyagana 396, :.;tV. 8, 24, 24. Indra.
Pragatha 8 + 8 + 12; p.da a contains seven syllables instead of eight,
the genitive ending -m pot the end having the value of two syllabies, the
melodization has left the number of seven unchanged. ~o stobhas are
inserted. The melodization is based on the accentuation. Syllable-division:
a: 8 (7), b: 7 + 1, c: (3 + 1) + 4 + 4. For comparison both the numerals
of accentuation and melodization are given. The digit 2 as substitute of
1 by special Samavedic law of sound is printed in italics.
Melodization
/45.4.4554/
Accentuation
/23.1.1223
122~. 2312/
1222.31. 2312. 22/1
/1122.221/1/
/122/1./21.22/123.455658/
Melodically pa. a
69
Ca and cfJ have the rising form, ba and da the monotonous form, bfJ and dfJ
the typical descent from tone 1 to tone 6.
Grimegeyagina 5548, :J.l.V. 9,75, 1 Soma.
4 x 12 syll. Pi. c with 11 syll. owing to the contraction rya in 3d syll.,
undissolved in the melodization. The fust two syll. of pi. a have become
three by a stobha: abhi abhyov. Syll.-division, a: (3 + 6) + 4, b: 8 + 4,
c: 7 + 4, d: 4 + 4 + 4. Melodization:
>
/544/211 111/221121
/1111 1111/22112/
/1111 111/221113/
/12345/221123/1234,,5868/
In parvan aa the tones (211) are replaced by their fundamental tones,
parvans aa and afJ monotonous with their beginning marked by tone 2;
ba and ca entirely monotonous ; ay, bfJ, cfJ and dfJ with rising movement
which ende in falling vilqti-tones; pi. da in its descending movement
preparatory of thc typical cadence in pi. dy.
Grimegeyagina 560. :J.l.V. 9, 70, 1. Soma.
4 x 12 syll. Pi. b with contraction vyo in 9th syll. dissolved in melodization; pi. c with contraction rya undissolved. In pi. a at the beginning
of the third parvan, before the llth syll., the stobha ho is inserted.
Accentuation of pi. a without stobha: 1.22.32.312.2222. Melodization:
/113&" /45. 54.545. 55/445/
/21 111 111/221121
/2 111 111/221113/
/223134.5/2112/1234,,5858/
In the parvans afJ and y the tones are replaced by their fundamental
tones, undulating movement, perhaps a m with M. In ba and ca monotony with marked beginning; in bfJ and cfJ rising four-syllabic movement
with descent in vilqti-tones at the end, da in its falling movement from
2 to 5 preparatory of dy with its typical cadence.
The last three melodies are cognate, the parvans use only two adjacent
tones except the last parvan of the strophe and the parvans which prepare
the final cadence: bfJ in 5461 , da in 5548, da in 560.
All the four instances are characterized by pdas containing an even
number, 8 or 12 syllabIes.
>
70
A
1
a
a
{3
y
{3
3
71
GG. 523', ~V. 9, 78, 1; GG. 524', ~V. 9, 97, 7, both to Soma.
GG. 525, ~V. 9, 97, 34. Soma. The so called smans 5251 and 5252
contain only p. a five times repeated and preceded by different soundstobhas and 5253 contains the pdas b--4, again with different soundstobhas.
GG. 526, ~V. 9, 97, 1. Soma. 526 has the syllable-division: a-c
(2 + 2) + 3 + 4 syll., pda a is twice repeated; p. dis first treated similarly to p. a-c and then its last six syll. are repeated and grouped as
2 + 1 + 3. The first parvans of the pdas are increased with the trisyllabic
sound au/wvii. Melodization:
a
14234.3451-1 -
13234 .345/-1 -
I -
Ihi
2/uhuv = 222,1
12345/hu = 2/hi = 21
I - lh = 5/h auhi = 2221
=
eli-I d
I
1-123311 - I
1-/ 2343/ 234558MI
The second form of 526 is simpier in its construction, it has only stobhalines before pdas a and d, does not r.epeat pda a nor a part of pda d
and neither inserts stobhas within the pdas.
GG. 527, ~V. 9, 96, 5. Soma. lts first chant-form will be discussed
sub A 2. The 3d and 4th chantform are nearly equal in the melodization,
they differ specially in the stobha-lines before the pdas a and d.
GG. 528. ~V. 9, 90, 2. Soma. In p. c the daJ).la has been omitted after
the second parvan. - GG. 532, 1.tV. 9, 96, 13; GG. 533, ~V. 9, 96, 1; GG.
535, ~V. 9, 97, 4; all to Soma.
A small group of smans belonging to this group is characterized by
the syllable-division of the pdas a-c : (2 + 2) + 3 + 4 and of d: (2 + 2) +
+ 3 + (1 + 3).
GG. 3131 , ~V. 7, 21, 1. Indra. The first parvan of two textsyll. adds the
stobha au/wv Mi at the end, before which the last vowel (+ cons.)
is dropped. Melodization of the first two parvans 1222232/323,5/.
GG. 3141 , 1.tV. 7, 24, 1. Indra. Parvans a and {J in all the pdas: 145/11/.
GG. 3162, 1.tV. 10, 148, 1. Indra. The same sOlmd-stobhas precede the
four pdas. Parvans a and {J in all the pdas: 132345/11/.
GG. 5231 , ~V. 9, 87, 1. Soma. Sound-stobhas inserted between the
parvans a and {J. A monosyllabic stobha is put before the two syll. of the
first parvan, e.g. pda a: /i-pratu = 235/ih = 3231 /drava = 21/.
One sman is still more em bellished :
GG. 3251 , ~V. 10, 55, 5. Indra. In the second parvans of all the pdas
the two syllables are repeated. Melodization of the parvans a and {J:
145 / 11 2- 11 /.
A 1 a {J and y.
One and the same sman fills the two articles of the classification. I
72
shall fust give the text with its lldttas marked and then the two forms
of melodization:
73
fig~re
/.-11132/ is met
/2111 I1I1/z-11132/
/1111 1111/2-11132/
/2111 111I/z-11132/
/212/1/211/2343/ 23465858/
B. The penultimate parvan has not the form /2343/' The two samans
belonging to thiB type are very differently constrncted; prosodically,
however, they both have padas with an even number of syllabIes.
GG. 974, :J;tV. I, 150, 1. Agni. Syll.-division: a undivided, b = 3 + 1 + 4,
c = 2 + 2 + 4 + 4. Melodization:
/552345445/
/211/1/1 t;.3 za45/
/31345/31345/22313,5/234:;5658/ .
74
+8+
12).
The last parvans of the secundary pdas have the form /43235/:
342 (3 x 8), 557 1, 557 5, 56P, 5642 (all 4 x 12); 5791
The cadences / ... 3234 5/ and / ... 43235/ both occur in the same
chant-strophe:
362 (4 x 8).
The cadence / ... 3234 5/ is found next to / ... 555/ or / ... 5585/:
507 (3 x 8), 553 (4 x 8), 353 (metre uncertain).
All the secundary pdas end in tone 5, either prakrti- or vikrtitone, but none has the form / ... 3 234 5/ or /43235/:
5572 (4 x 12).
The last parvans of the secundary pdas end in one of the
higher tones (1, 2, 3):
5558 (4 x 12).
Note. Of 25P (8 + 8 + 12 + 8) pda a ends in the vikrt;i-tone 4,
pdas band c in the vikrti-tone 3. Sman 5555 (4 x 12) has an
intricate construction.
One or more pdas end in tone 5, and other pdas in one of the
higher tones.
The pda en ding in 5, ends in the figure / ... 3234 5/:
5574 (4 x 12), 5725 (8 + 8 + 12). For 3422 and 4632 see
the description infra.
The pda ending in 5, ends in the figure / ... 43235/:
(8
C
I
12
4002 (8
+ 8).
+ 12 + 8).
75
The pda ending in 5, ends in / ... 555/, / ... 5585/ or / ... 5545/.
A 1.
/112112/32232345/
/1111 2/323 2345/
/111123/ 3234 65868/
556, :!;tV. 9, 77, 1. Soma. -
3851,
~V.
A 2. The last parvan of the secundary pdas has the form / ... 43235/.
Instanees: 342, ~V. 8, 84 (73), 7. Agni. 3 x8 syll. The same soundstobha precedes all the pdas: /auhihuv = 2223132/huva e = 232/,
~V.
A 3. The cadences / ... 323,5/ and / ... 43235/ in the same chantstrophe.
Instanee: 362, ~V. 8, 69 (58), 8. Indra. 4 x 8 syll. Melodization:
/2222 223 23,5/
/22223 43235/
/2111 23 43235/
/111123/ 3234 55856/
~V.
76
B. The final tone of the secundary pdas is one of the higher tones.
Instance: 5558, ~V. 10, 79, 1. Soma. 4 x 12 syll. The two syllablecontractions in p. a are d8solved in the melodization.
/55/v hi
45/11.1.111/221 2 2/
/1111.1111/2.211~/
/1~2. /123/234/3.434.45/232/
/1 23 , 2/1~. 234/4.345/3.23.455858/
~V.
I ... 3~,5/,
13~,5/.
3422, ~V. 1, 10, 1. Indra. 4 x 8 syll. The pdas b, c and d are repeated,
vowel (and consonant) are elided before the stobha ohiii.
a:
b:
c:
d:
first time
15550hai = 45/32 23 234 51
11111 21232/
12111 121232/
Illll 1212321
second time
/222 oha = 32345/32232345/
/222 ohi = - /3223234 5/
/222 ohi = - 1323455858/
4632, ij,V. 9, 111, 1. Soma. In the rcika-reading the verse-strophe consists of seven pdas with the following number of syllabies, a "= 12, b = 12,
c-e = 8, 1= 12, g = 8. The chant-strophe 4632 consists of the pdas
a-c; the contractions in a and c are not dissolved. The pau~pika diphthongs i are here written by Satyavrata Smarami as yi, a less desirabie
spelling. In pda b the verb is read as tarasi and the final i is elided before
the stobha auho/v. Melodization:
/55.32.345/2211
/1l.1232/111/sauho = 22/v hi = 2323/112323451
12123.2/3234556581
a.
a.
/5.4 3.2344.551
/1.1.1112 1.2321
b.
b.
c.
77
/111.111/2.23.4 3 .2.35/
/11/2.23.43 .2.35/
3. The pda ending in tone 5, ends in / ... 555/, / ... 5585/ or / ... 545/.
1622, :!;tV. 8, 82 (71), 7. Indra. 3 x 8 syU. Pda b is repeated. Melodization:
a.
/5555 58555/
/1111 121232/
/22223/231232/i = 1'2/
C.
/2223 234 hi = 5/3234:;5856/
123, :!;tV. 8, 2, 25. Indra. 3 x 8 syU. Pda a is repeated. Two cadenc61i1
of the secundary pdas occur, viz. /5585/ and /2345/. Melodization:
b.
b.
a.
a.
[45554[55 8 5/
b.
/1[223[2345/
C.
/112/123/3234,,5856/
/1111 121232/
366, cf. ~V. 5, 38, 1. Indra. 4 x 8 syU.; of the pdas b-d the four last
syU. are repeated. - 467 8 , :!;tV. 9, 61, 10. Soma. 3 x 8 syU. - 561 2, :!;tV.
9, 85, 1. Soma. 4 x 8 syU.
Conclusion to section 11. As the most important fact of this
section we may consider, I think, the way in which the three forms of the
5856 -cadence are connected with the versification and consequently with
the distribution of the syUables over the parvans. The form /1234,,5856/
and /3234,,5856/ are used in strophes with pdas of an even number of
syUables. The form /234,,5858/ is found in trililtubhs. The two forms/1234,,5856/
and /3234,,5856/ may he compared with the two cadences /1 234,,/ and /32345 /,
cf. supra pp. 62 - 65.
Further it is worth emphasizing the fact that the Smavedic chanters
have exploited their simple and limited outfit of means to the widest
range of possibility. In this respect their chant is cognate in spirit with
the Vedic ritual and poetry, one might caU it an art of the kaleidoscope;
however, one should not forget that this Vedic culture has been the
introduction to a later widely and deeply developed civilization.
SECTION III
OLDENBERG'S RULE OF ACOUSTIC METALEPSIS
78
ma~y (A~~dhyya
Melbdization (hyG.)
/hih = ll/21. 1. 1. ll2.22223/
/ih = ll/I1. 2 .11. 2.223/ etc.
The AG.-melodization agrees with this, but has more extensive stobhas.
From the hyagana we can leam that all the strophes are dependent on
the accentuation of their texts, and moreover that the final syllable is
independent of the accentuation, being everywhere melodized as 23'
Oldenberg p. 487 BI. V 408, hyG. 1, 2, 6; the sman is sung on the
yasas-melody AG. 2, 2, 12. The text of hyG. I, 2, 6 is uA. 663 = ~V.
9, 107, I, and the text of AG. 2, 2, 12 (BI. 11 441) is pA. 270 = ~V. 7,
32, 16. All the stobhas of AG. 2, 2, 12 have been omitted in the hyG.
melody with exception of the final sentence-stobha: satm jivema sardo
vay1Jl te.
Text of pA. 270,
Melody of AG. 2, 2, 12
(except additional stobhas)
(8 + 8 + 12 + 8 syll.)
11.2232.23
/ll.I22I.12/
1.222.232/
/1.122.221/
31.122.2312.223
/21.ll2.2311. 222
1.2.3.12.222//
/1.1.2.11.222/
stobha: /21. 122.212.21. 323t5/
>
79
Melodization of hyG. 1, 2, 6
/121.122.21/
/12.1.121.21/
/221.1 . 11.21.21.1/
/212.12.112/
stobha: /21.122.212.21. 32345/
Melodization of AG. 6, 1, 15
/21. 21.122.21.11/ (sic corr.)
/12.11 . 2112.1122/
/1122 . 1. 12112.11/
/21.122.221.1122/
Melodization
/1123/auhi
/21.12 3/
/11.223/ -
2.3231/11223/hauhi = 2. 3231 /
/ 1123/
=
I
=
/ 1123/
/hauhi = 2.32312345/. d = 5/
Melodization
/55.5.55.555.e = 5/e = 5/
/211. 22 . 1123/hovhi = 1232/
/11.211z3/hovhi = 1232/111232343/
/i = 12345/. d = 5/
80
Melodization
/21.21.122.12.12/
/11.211.2212.1'2/
/11.221.12.1.112/
/12.112.222.211. 21 /
Melodization
/21.1.22.222 has = 1/
/112.22.211 has = 1/
/112. 2l.112. 211 has = 1/
/112.22.211 has = 1/
AG. 4, 1, 10, BI. 11 468. Text AS. 3, 3 (BI. 11 285) = 1;tV. 1, 91, 2, the
text is a tril;ltubh-strophe. In pada c uru antrik{Jam has been contracted:
u >v, a > and the accent became a kampa, which I have transcribed
by 2"; in two cases tone 3 between two udattas is raised to tone l. The
final sentence-stobha in its accented form runs: jna divam amtrik{Ja1Jt
wtkivt1Jt visvhhojasa1Jt pururp ajijanafl,.
Accentuation
2.3l.122.23.23.
2.31. 2223.2.2. /
l.122. 3.2"123.
l.123.1.12.222//
Melodization
/1.11.112.22.12/
/1.21.1222.1.1/
/1.113.3l.1112/ (sic corr.)
/1.112. 1. 1l.222/
stobha: /11.1l.2112.22l.
21122.2112.2222/
The fust parvan of the chant-strophe contains the fust p8.da and four
syllables of the second pada with the last syllablei changed into
(i >ai >a 1). The 2d parvan contains the two syllables-va go-; the 3d
81
parvan contans the two text-syllables -dhe plus the sound-stobha uvii;
then there follows the sacral expression ir!Jl and 8var as separate parvans.
The 6th parvan = the first four syllables of pda c; the 7th parvan contains the last tour syllables of this pda folIo wed by the stobha uv; the
last parvan consists of the stobhic expression jyoti~. Melodization:
/22221.212 ;212 .1/222/12.uv = 231113/
/i<J = 3ZM 5/sv1;t = 3l1345/
/211132/1112 uv = 231113/jyotnt = 3l1345/
The influence of the accentuation is clearly traceable, although there
are many irregularities ; the acoustic metalepsis is as a rule ignored, so in
the syllables (u- )tye, (au- )dghm, -dhe; in one case the tone 1 is extended.
over the two following syllables dyvi-dyavi. In the verb juhUmai the
2d syllable receives the udtta. The melody has a regular construction :
the first three parvans move on the higher tones, the 4th and 5th parvans
apply the svrya twice. The 6th and 7th parvans move again on the
higher tones, whilst the last parvan containa again the svrya.
Examples from the Grmegeyagna added to those of Oldenberg.
In the first place I want to consider a sman (GG. 4292) written in the
metre dvipad virj (4 x 5 syllabIes), the first three quintiples of which
are quoted by the commentator N. on PS. 9, 30 as fit for using as stobhas.
The text of this sman (= J;tv. , 9, 109, 4) runs as follows:
pvaava aoma maMnt aamudr~
pita devdnm visvbM dMma/
a.
b I.
/4.545 . 5554.
45. 55. 4/
82
a.
b.
83